“RCA records established a recording studio in this building in November 1957, with local offices run by guitarist-producer Chet Atkins. Its success lead to a larger studio, known as Studio A, built next-door in 1964. Studio B recorded numerous hits by Elvis Presley, the Everly Brothers, Roy Orbison, Don Gibson, Charley Pryde, Jim Reeves, Dolly Parton, and many others. Along with Bradley Studios, Studio B is known for developing ‘The Nashville Sound.’”
For many years, Country Music Hall of Fame inductee Chet Atkins managed RCA’s Nashville operation and produced hundreds of hits there. His production techniques (and guitar performances) are the stuff of legend!
The sale of this building last year on what came to be known as “Music Row” to a condo developer caused a storm of controversy in Nashville.
Many citizens began to take a hard look at what was happening to properties in that area.
Trey Bruce, a local producer and musician, heard about the potential sale of Studio A, and sprang into action.
He'd been going to this building since he was a youngster, accompanying his father, who penned the classic “Mammas, Don't Let Your Babies Grow Up To Be Cowboys.” He felt it had to be saved.
He spearheaded a campaign by the 'Music Industry Coalition' to save Studio A, in the music trade, social media, and city council to purchase it from the developer.
He was ultimately successful (with a $5.6 million-dollar cheque!) and the building won't be demolished after all. Few recording studios can claim the number of hit records that have come from Historic RCA Studio A and B - - estimated at 35,000.
For more than half a century, RCA drew hundreds of musicians through its doors — not because of what the exterior looked like, but what the interior sounded like.
And what does the RCA Building sound like?
Spend a few hours flipping your radio dial from left to right even today, and you'll stumble across countless songs recorded inside the building's two studios.
A sophisticated style characterized by background vocals -- notably the Anita Kerr Quartet -- and strings, the Nashville Sound both revived the popularity of country music and helped establish Nashville as an international recording center.
While some country music fans objected to strings (violins), Chet Atkins and his performers decided to go ahead.
They had the last laugh: Eddy Arnold, whose song "Make The World Go Away” became a monster hit, said later, “They didn’t want us to use strings, but we did anyway, and sold 90 million records!”
Here is a small sample of hit songs recorded there (which I remember well), including many million-sellers:
- "Only the Lonely (Know How I Feel)" and "Crying” - Roy Orbison
- "Detroit City” and "500 Miles Away from Home” - Bobby Bare"
- "The Old Lamplighter” and "The Three Bells” - The Browns
- "Welcome to My World” and ”Adios Amigo” - Jim Reeves"
- "Last Date” and ”On the Rebound” - Floyd Cramer, piano player, who also played on hundreds and hundreds of sessions
- "The End of the World - Skeeter Davis"
- "All I Have To Do Is Dream" and "Cathy's Clown” - The Everly Brothers
- "Oh, Lonesome Me" and "Sea of Heartbreak - Don Gibson"
- "Honey” - Bobby Goldsboro
- "Gotta Travel On - Billy Grammer"
- "The Happiest Girl in the Whole U.S.A." - Donna Fargo
- "Java” - Al Hirt, a bearded trumpeter from New Orleans
- "Please Help Me, I'm Falling" and "It's A Little More Like Heaven” - Hank Locklin
- "Coat of Many Colors" and "Jolene” - Dolly Parton
- "It's Now or Never” and "Are You Lonesome Tonight?” - Elvis Presley, who tracked more than 250 songs there
- "Kiss an Angel Good Morning" and "(Is Anybody Going To) San Antone” - Charley Pride"
- "Yakety Sax” - Boots Randolph, who played THE sax
- "Once a Day” - Connie Smith
- "Miller's Cave" and "I've Been Everywhere - Hank Snow"
- "Green, Green Grass of Home" and "The Carroll County Accident” - Porter Wagoner
These recordings and many hundreds more form a major slice of the audio culture of my generation.
Thank you, Chet.
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